Early Work In Process - Worth the Price?- Sky and Water Close to Done - Towers and Wharf only light values

Although I plan to display this as a triptych with three segments that will be 24" X 24", I started Worth the Price? as a single 6' long painting so I can make sure the water and sky are cohesive. This will ensure they are in alignment and the colors are the same in adjacent panels.

The image below was taken at the same point in the painting. I've added the vertical lines to show where the three segments will be cut.

End Day One - Showing where the painting will be separated to form the Triptych

Day two - I've cut the painting apart and mounted them so I can paint on each 24" X 24" segment individually. I thought it would be much easier to handle each segment while painting the towers and dock. I"ll also be able to move back into my studio with my normal LED lighting that has the same temperature and properties as sunlight. The 6' painting was too large so I did that on a large table in the garage.

Moving into the structure of the buildings and docs

In the image above, a few days have passed and I've been working on each segment to keep them at the same stage as I progress. Here they have additional mask to protect some of the mid-tones plus I stamped in some dark patterns to begin the structure of the buildings, towers, and dock. I have some texture materials I like to use for stamping. I apply some thicker tube acrylic paint to the texturing material then stamp it in areas where I want the texture. Once this is dry I'll return to a brush to finish the painting.

Interested in learning more about April's art inspirations, tips about her painting process, or art business tidbits? Want to know when her art is in exhibits? Consider joining her friends and collectors by signing up for her twice-monthly email.

Copyright April M Rimpo All Rights Reserved. You may share my work with attribution and a link to this source site, but all other uses are prohibited.

New Masters Art Gallery is an exciting new gallery in Rockville, Maryland located in Artists & Makers 2 Studios at 12276 Wilkins Ave, Rockville, Maryland. It is located on the top floor of Artists & Makers 2, with a beautifully lit, spacious gallery that supports 36 artists in the Metro DC area. During May 2017, April M Rimpo's paintings will be featured along with four other artists in an exhibition called "Visual Envelopes." Each artist brings their own view of the world to this exhibit. Below are images of April's paintings included in this exhibition; each with a link to assist you with your purchase if you see that piece that just calls out your name.Just in time for #BikeMonth, April has several paintings with bicycles and cyclists in them. In addition to loving to paint bicycles, April loves to share moments in time, often expressed through dramatic lighting. Madison Square Fountain is an example, as is Aglow, and Street in Sololá, Enjoy!

Full to the Limit - $650 - Fluid Acrylic varnished and framedAvailable for purchase by clicking hereThe other artists included in "Visual Envelopes" are Catherine Nickle, Brian Fisher, Jennifer Rutherford, and Galina Kolosovskaya. The Opening reception is on Friday, May 5, from 6 - 9 PM. Video of the exhibit

Interested in learning more about April's art inspirations, tips about her painting process, or art business tidbits? Want to know when her art is in exhibits? Consider joining her friends and collectors by signing up for her twice-monthly email.

Copyright April M Rimpo All Rights Reserved. You may share my work with attribution and a link to this source site, but all other uses are prohibited.

Two of my favorite things combine in They're Everywhere: the colors of pigeons and painting with drips and splatters to create the illusion of a rocky cliff.I know, so many people think pigeons are pests but I love their iridescent colors. I'm also amazed that no matter where I travel I see pigeons. I've done paintings of pigeons in Italy, Seattle, New Jersey, and now Colorado. They're Everywhere was particularly fun because of the way I created the background of this painting. I started by spraying water on the paper letting the water run in all directions, making rivers of water the went across and down the page, weaving a random pattern on the page. I then dropped on color, either with a brush or by using a pipette, and tipped the paper to make the colors blend randomly following the path of the water. I also added some splatters here and there that became the shadowed spots on the cliffs. After drying I continued painting to refine the cliffs, but many of the random cracks in the rocks and shadows were already established from the first wet-into-wet wash.I've included a video of me creating this painting; a time lapse over a week of painting. Enjoy! I'd love to hear your feedback.

Interested in learning more about April's art inspirations, tips about her painting process, or art business tidbits? Want to know when her art is in exhibits? Consider joining her friends and collectors by signing up for her twice-monthly email.

Copyright April M Rimpo All Rights Reserved. You may share my work with attribution and a link to this source site, but all other uses are prohibited.

I am not sure what draws me to industrial scenes, but it is probably the colors and the structure of the equipment. I didn't want the blue crane to blend in with the sky so I decided to use a golden, gray colored sky. I love to use red and orange with blue to create tension with this red based analog color scheme. By using very dark values I accentuated the structure of the equipment and the train rail. Contrasting the geometric shapes of the freight yard with the soft sky and wet runs at the bottom of the painting provided an interesting balance between industrial and organic.

Freight Yard is included in North Light Books' AcrylicWorks 4: Captivating Color, best of acrylics. Read the press release for the book here. Below is an image of the cover and page 31, where my painting is included.

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Favorite Quotes

"Time spent in a painting is very much like going there again on vacation. And when the painting is done, I have seen every detail and nuance so thoroughly, that a glance at the completed work is sufficient for a short visit." (John Burk)

"The secret of great art - to rob the moment of its impermanence." (Ivan Lissner)

"If you hear a voice within you say you cannot paint , then by all means paint and that voice will be silenced." (Vincent van Gogh)

"Rejection leads to persistence, and persistence is what it is all about." (Maria Scrivan)

"Many of life' failures are people who did not realize how close they were to success when they gave up." (Thomas A. Edison)

"The greater danger for most of us lies not in setting our aim too high and falling short; but in setting our aim too low, and achieving our mark." (Michelangelo)

"When I was 5 years old, my mother always told me that happiness was the key to life. When I went to school, they asked me what I wanted to be when I grew up. I wrote down "happy". They told me I didn't understand the assignment. I told them they didn't understand life." (John Lennon)

“Travel is fatal to prejudice, bigotry, and narrow-mindedness, ... Broad, wholesome, charitable views of men and things cannot be acquired by vegetating in one little corner of the earth all one's lifetime.” (Mark Twain, The Innocents Abroad/Roughing It)

“All colors are the friends of their neighbors and the lovers of their opposites.” (Marc Chagall)